Less well-known are the identities of the “uber geniuses” who have made viewers sit up and pay attention in what has been a standout year for sound in film.
From the simple task of reproducing the sound of an atomic bomb going off for Oppenheimer to the subtle yet terrifying churning of the concentration camp incinerator in The Zone Of Interest.
Sound is usually one of the least debated categories at the Academy Awards, but this year there is a lot to speak about.
On paper, the nominees couldn’t be more disparate: there’s the team that had to figure out how loud Tom Cruise’s death-defying Mission Impossible stunts should be, those tasked with setting the right tempo for Bradley Cooper’s Maestro mood swings, and the nominees who somehow conjured up what a future war with robots might sound like in The Creator.
